Os dados coletados por meio dos questionários aplicados foram tabulados e organizados para a identificação de um grupo de seis sujeitos representativo para o conjunto de doutorandos de universidades públicas brasileiras. Os dados orientaram a pesquisa do texto-fonte utilizado e a formulação das instruções para a tarefa proposta.
Os dados gerados pelos informantes, no Translog, foram gravados e analisados separadamente. Esses dados foram analisados exaustivamente por meio de uma triangulação dos dados dos questionários, do PRI, o texto de chegada e os registros da construção textual (representado na tela esquerda do Translog 2000) e a transcrição linear, com todos os símbolos com informações processuais, registrada na tela direita.
Os dados do Translog foram organizados de acordo com as alterações significativas representadas por meio dos caracteres ortográficos assinalados, representados no QUADRO 6:
Quadro 6 - Organização dos dados do Translog para fins de análise
Seguindo a análise dos dados gerados pelos informantes, individualmente, num primeiro momento, buscou-se compreender os fatores responsáveis pela diferença de qualidade dos textos produzidos, baseando no tempo dedicado às pausas e às fases de produção propostas por Jakobsen (2002) – fase de orientação, redação e revisão. Essa compreensão levou em conta a noção de durabilidade proposta por Alves e Gonçalves (2006).
É importante esclarecer que o tempo total de produção dos informantes foi computado individualmente com base no cronômetro disponível no Translog. Para fins de contrastação do uso desse tempo, foi feita uma média percentual do tempo dedicado a cada fase de produção (JAKOBSEN, 2002).
COREOGRAFANDO O IMPÉRIO
O estudo realizado por SCOLIERI (2003) objetivou revelar o grau com que a dança [12:41]( 17pls)
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003 [ :15.82]TE⌫⌫ objetivou revelar como ⌫⌫⌫⌫o grau com que
a danca⌫⌫ça [ :52.96][ ] c ⌫COREOGRAFANDO O IMPÉRIO [
]
COREOGRAFANDO O IMPÉRIO
O estudo realizado por SCOLIERI (2003) objetivou revelar o grau com que a dança atuou na historiografia de um dos momentos decisivos da história mundial: a descoberta, a conquista e a colonização das Américas. [14:21](37 pls)
[Start][ResizeST][ :08.53.97] [ :01.05.51][ ] O estudo realizado pr
o⌫⌫ro ⌫⌫⌫or Sco⌫⌫c⌫ COL IERI () 2003⌫⌫⌫⌫ ⌫ 2
003 [ :15.82]TE⌫⌫ objetivou revelar como ⌫⌫⌫⌫o grau com que
a danca⌫⌫ça [ :52.96][ ] c ⌫COREOGRAFANDO O IMPÉRIO [
][ :37.49]ATU⌫⌫⌫ ATY⌫⌫⌫atuaou⌫⌫⌫ou na ho⌫istoriografia de um dos monent⌫⌫⌫⌫mentos desci⌫⌫⌫cisic⌫vos da hist ória mundial:
A análise das pausas baseia-se também nos registros do Translog. O tempo de pausas maiores, registrados entre colchetes [ ] consta da soma dos registros a partir da digitação da primeira letra do texto de chegada. As pausas de produção são consideradas até a indicação de conclusão da produção, representada pela palavra end entre colchetes.
Num segundo momento, analisou-se a produção individual dos informantes, dentro de uma perspectiva processual. Nessa análise, tomou-se como parâmetro, as unidades de conteúdo apresentadas no QUADRO 5. O Capítulo 4 apresenta a análise dos dados.
CAPÍTULO 4 ANÁLISE DOS DADOS
4.1. Introdução
O Capítulo 4 está organizado em quatro seções, quais sejam, uma introdução em 4.1, seguidas em 4.2 e 4.3 pelas análises dos dados gerados no experimento pelos informantes, individualmente. Ao final do Capítulo são apresentadas algumas reflexões de caráter geral sobre a análise dos dados, na seção 4.4.
Na seção 4.2, os dados são interpretados de acordo com a contração lingüística (SHREVE, 2005), com o tempo de execução da tarefa, com as fases de produção da tradução sinóptica (orientação, redação e revisão) (JAKOBSEN, 2002) e de acordo com as pausas feitas (noção de ritmo cognitivo (SCHILPEROORD, 1996). Essa análise visa à compreensão da correspondência desses fatores com o nível de durabilidade de cada resumo. Os dados obtidos por diferentes instrumentos são triangulados, visando a garantir uma interpretação mais acurada.
A seção 4.3 focaliza a durabilidade da produção dos informantes (ALVES, 2005), que são analisadas de acordo as unidades de conteúdo previstas organizadas no QUADRO 5 – apresentado no Capítulo 3.
O resumo da introdução de um texto acadêmico publicado num prefácio levanta expectativas de informações numa determinada comunidade discursiva usuária desse gênero no que concerne às unidades de conteúdo do texto. Tomando como base os movimentos propostos por Swales (1990) e o texto Choreographing empires, algumas informações foram levantadas e identificadas em cada resumo. As menções aos trechos
que apresentam tais informações servem para indicar que o(s) sujeito(s) atribuiu(íram) alguma relevância à determinada informação. Isso quer dizer que, se o informante edita a proposição “estudo de caso”, ele identifica nessa proposição uma informação relevante para seu resumo.
As unidades de conteúdo apresentadas nos resumos de cada informante foram confrontadas ao texto-fonte – Choreographing empires com o objetivo de verificar
pistas lingüísticas que indicam a localização da informação no TF57. As unidades
selecionadas pelos informantes individualmente estão representadas nas marcações registradas na FIG. 5. É importante enfatizar que essas unidades são analisadas de acordo com as unidades representadas no QUADRO 5 (Cf. página 89), as quais foram identificadas com base nos três movimentos definidos na proposta de Swales (1990) - discutidos no Capítulo 2.
O modelo de Swales (1990) foi organizado a partir de unidades de conteúdo específicas do texto em análise. Por exemplo, na primeira fase do movimento que é o estabelecimento do território, focam-se as informações sobre a publicação do trabalho (título, ano de publicação e autoria), os objetivos da pesquisa, a fonte dos dados analisados (discurso colonial) e o tipo de pesquisa (estudo de caso).
57
Nesta fase da pesquisa, a correspondência entre os textos fonte e de chegada é observada no que se refere ao conteúdo ou unidades de conteúdo. As unidades consideradas referem-se a informações previstas nas definições de resumo apresentadas pelos informantes. De acordo com as respostas dadas no questionário aplicado nesta pesquisa, os sujeitos envolvidos concebem resumo de um texto como identificação e/ou extração das idéias principais dadas pelo respectivo autor.
FIGURA 5 – Proposições selecionadas pelos informantes 1) Dani 2) Fábio 3) Alemar 4)Marília 5) Guilherme 6)Pescador
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - 2003
Introduction: Choreographing Empires
(1)
This study endeavors to reveal (5)
the degree to (2)
which dance shaped the historiography of (6)
one of the most defining moments in the world history: the discovery, conquest, and colonization of the Americas. (7)
To that end, (8)
sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological writings
(9)produced by Spanish conquistadors and missionaries in the New World - shall (10)serve as the locus of investigation for an extended (11)mediation on the relationship between choreography (the writing of dance) (12)and historiography (the writing of history). That is to say, rather than explain how history shapes dance, I will bring into relief the ways in which dance shapes history, using the (4)written and visual representation of Aztec dance in colonial discourse (3)as a case study. Colonial (13)discourse is the predominant source (14)through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire. To (16)understand the relationship between dance, discourse, and empire, this study is informed by a broad range of (15)ideas within the field of dance studies. Foremost, it is enabled by deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of the European and indigenous encounter, I hope to contribute to this field of scholarship by (17)exploring the political dimensions of the relationship
(18)between dance and writing, (19)suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections between choreography and empire this study charts.
1 “Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - 2003
Introduction:
(1)Choreographing Empires
(2)This study endeavors to reveal the degree to which (3)dance shaped the (4)historiography of one of the most (5)defining moments in the world history: the discovery, conquest, and colonization of the Americas. To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological (6)writings produced by (7)
Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the (8)
relationship between choreography ((9)the writing of dance) and historiography ((10)the writing of history). That is to say, rather than explain how history shapes dance, I will bring into relief the ways in which dance shapes history, using the written and visual representation of Aztec dance in colonial discourse as a case study. Colonial discourse is the predominant source through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(11)To understand the relationship between dance, discourse, and (12)empire, this study is informed by a broad range of ideas within the field of dance studies. Foremost, it is enabled by deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of the European and indigenous encounter, I hope to contribute to this field of scholarship by exploring the political dimensions of the (13)relationship between dance and writing, suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections between choreography and empire this study charts.
1 “Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - (1)2003
Introduction: Choreographing Empires
This study (8)
endeavors to reveal the degree to which (2)
dance shaped the (9)
historiography of (11)
one of the most defining moments in the world history: (10)
the discovery, conquest, and colonization of the Americas. To that end, sixteenth-century (16)colonial discourse - the epistolary, ethnohistorical, political and theological writings (17)produced by Spanish conquistadors and missionaries in the New World - shall serve as the (12)locus of investigation for an extended mediation on the
(13)relationship between (14)choreography (the writing of dance) and (15)historiography (the writing of history). That is to say, rather than explain how history shapes dance, I will bring into relief the ways in which dance shapes history, using the written and visual representation of (3)Aztec dance in colonial discourse as a case study.
(18)Colonial discourse is the predominant source through which we know (19)anything at all about indigenous culture. It also provides us with the opportunity to examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(20)To understand the relationship between dance, discourse, and empire, this study is informed by (21)a broad range of ideas within the field of dance studies. Foremost, it is enabled by (22)
deconstructionist theories of dance such as those of Mark Franko (1994), that explore the dynamic between writing and dancing as modes of constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of the European and indigenous encounter, I (23)hope to contribute to this field of scholarship by exploring the political dimensions of the relationship between dance and writing, suggesting that dance (24)
was a condition upon which (25)
the conquest could be historiographically represented. To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections between choreography and empire this study charts.
1 “Aztec” is term that describes the Mesoamerican (4)indigenous empire that was composed of (5)distinct political and cultural societies. These societies, such as the Tlaxcaltecas, (6)Mexica and Thahuica, each were tied by language (Nahuati) (7)cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - 2003
Introduction: Choreographing Empires
(1)This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining moments in the world history: the discovery, conquest, and colonization of the Americas. (2)To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological (3)writings produced by Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the relationship between (4)choreography (the writing of dance) and historiography (the writing of history). That is to say, rather than explain how history shapes dance, I will bring into relief the ways in which dance shapes history, (6)
using the written and visual representation of Aztec dance in colonial discourse as (5)
a case study. Colonial discourse is the predominant source through which we know anything at all about indigenous culture. It also provides us with the opportunity to examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what Michel de Certeau has called a "heterology" (or discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(8)
To understand the relationship between dance, discourse, and empire, this study is informed by (7)
a broad range of ideas within the field of dance studies. Foremost, it is enabled by deconstructionist (9)
theories of dance such as those of (10)
Mark Franko (1994), that explore the dynamic between writing and dancing as modes of constructing meaning. Furthermore, it is shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of Susan L. Foster who has explored the ways in which the historiographer”s body shapes the history of dancing bodies (1995). And finally, the arguments in this study gain momentum from scholars such as Barbara Browning (1995), Marta Savigliano (1995), and (11)Deborah Poole (1990) who have theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By (13)examining the written and visual representations of the European and indigenous encounter, I (12)
hope to contribute to this field of scholarship by exploring the political dimensions of the relationship between dance and writing, (14)
suggesting that dance was a condition upon which the conquest could be historiographically represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections between choreography and empire this study charts.
1 “Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - 2003
Introduction: Choreographing Empires
(1)This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining (4)moments in the world history: the discovery, conquest, and colonization of the Americas. To that end, sixteenth-century colonial discourse - the epistolary, ethnohistorical, political and theological writings produced by Spanish conquistadors and missionaries in the New World - shall serve as the locus of investigation for an extended mediation on the (3)
relationship between choreography (the writing of dance) and historiography (the writing of history). That is to say, rather than (5)explain how history shapes dance, I will bring into relief (2)the ways in which dance shapes history, (6)using the written and (7)visual representation of (8)Aztec dance in colonial discourse (9)as a case study.
(10)Colonial discourse is the predominant source through which (13)we know anything at all about (14)indigenous culture. It also provides us with the (12)opportunity to examine the foundations of a modern historiography and ethnographic tradition whose aim was to construct what (11)Michel de Certeau has called a "heterology" (or discourse on the other) which is "built upon a division between the body of knowledge that utters a discourse and the mute body that nourishes it" (1975:3). For the Spanish conquistadors and missionaries in the New World, Aztec dancers served as some of the many mute bodies that "nourished" the Spanish discourse of empire.
(15)To understand the relationship between dance, discourse, and empire,
(16)this study is informed by a broad range of ideas within the field of dance studies. Foremost, it is enabled by deconstructionist theories of dance such (17)as those of Mark Franko (1994), (18)
that explore the dynamic between writing and dancing as modes of (19)
constructing meaning. Furthermore, it is (20)
shaped by theories of choreography and historiography - choreography as a model for historiography, history as choreography - taking its cue from the work of (21)Susan L. Foster who has explored the ways in which the historiographer”s (22)body shapes the history of dancing bodies (1995). And (23)finally, the arguments in this study gain momentum from scholars such as (24)Barbara Browning (1995), Marta Savigliano (1995), and Deborah Poole (1990) who have theorized the relationship between historiography, narrativity, and writing as they pertain to the dances of the New World. By examining the written and visual representations of the (25)European and indigenous encounter, (26)I hope to contribute to this field of scholarship by exploring the political dimensions of the relationship between dance and writing, suggesting that dance was a condition upon which the conquest could be historiographically (27)
represented.
To put these claims to task, I begin with the visual and written accounts of the conquest, which provide a dramatic point of entry into the more remote connections between choreography and empire this study charts.
1 “Aztec” is term that describes the Mesoamerican indigenous empire that was composed of distinct political and cultural societies. These societies, such as the Tlaxcaltecas, Mexica and Thahuica, each were tied by language (Nahuati) cosmology, and an economic system
Choreographing empires: Aztec performance and colonial discourse (Toribio de Motolinia, Diego Duran, Bernardino de Sahagun, Spain, Mexico)
Scolieri, Paul A. New York University - 2003
Introduction: Choreographing Empires
(1)This study endeavors to reveal the degree to which dance shaped the historiography of one of the most defining moments in the world history: the discovery, conquest, and colonization of the Americas. To that (2)end, (3)sixteenth-century (4)colonial discourse - the epistolary, (5)ethnohistorical, political and theological writings